Tag: bible story
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Of all the psalms, this one feels most familiar. This is the one I recite to myself when I can’t fall asleep, the one I’ve taught my daughters to recite to themselves when they can’t fall asleep, the one whose images are comforting in an unfluffy way: David talks about The Valley of Death, after all, so this psalm is assurance for very real suffering.

There are a number of good picture book versions of this psalm out there, but none that have made it onto this blog yet. I don’t know exactly why that is, but until now, I returned every one to the library without feeling the need to review it. Barry Moser’s version is different.

By following a shepherd boy through his day’s work, Moser takes a fairly standard approach to illustrating this psalm, but instead of featuring a Sunday-school David in short bathrobe and sandals, Moser models his shepherd on a young Caribbean boy. Moser’s shepherd wears modern day clothes, squints into the sun, and tends his sheep gently as the text of the psalm follows him from scene to scene.

The Lord is my shepherd
I shall not want.

Putting these familiar words into a fresh setting made me listen closely as I read them to my daughters. It reminded me that the Lord is my shepherd, yes, but he is also their Shepherd. And your Shepherd. And the shepherd of the shepherds tending flocks near the equator. His gentle hand guides and comforts me in trial, but his reach extends even to islands in the Pacific, where the trees are laden not with prickly evergreen boughs but with slender palm leaves. His reach extends further even than that.

The comfort of Psalm 23 runs deeper, then, when I realize that, though the flock of sheep he tends is vast, our Shepherd cares for us all. He knows not only my name, but yours too, and that of the boy Moser modeled his shepherd on.

That is, I think, why Moser’s Psalm 23 connected with me more deeply than any of the other versions I’ve read. His illustrations are light-filled and beautiful, and they present Psalm 23 as a psalm for all of us, no matter where we live or what we look like. He illuminates the goodness of our Shepherd through the picture of one faithful young boy.

Some of the best parts of Scripture feature unsavory elements. Genocide, for example. Prostitution. Murder. And because those passages tend toward the unsavory, they don’t often get shared with children.

Maybe that’s as it should be. Maybe those books are better after the wait.

But sometimes authors take the plunge and pull surprisingly beautiful themes out of Scripture’s darker corners. Authors Eleazar and Rebekah Ruiz did just that when they adapted the story of Ecclesiastes into a parable called Golly’s Folly.

Golly is a prince who grows impatient for his turn to be king. But when his father hands his crown over to Golly, Golly uses his new authority to surround himself with wealth, possession, and knowledge—all in an effort to make himself happy. That goes about as well as you might expect. Eventually, Golly learns that what makes him truly happy was his before he ever wore a crown.

I happened upon a trailer for this book months ago, and while I was promptly smitten with the illustrations and the design, I was most taken with the message of the book. From a young age, our children are surrounded with countless variations on the theme that we can find our happiness in possessions and experiences and achievements, and they watch us wrestle with those same temptations (with varying degrees of success). So I’m thankful for a book that shows our children, clearly and concisely, where our true happiness lies.

And while I’m excited to tell you about Golly’s Folly myself, this week’s review doesn’t end there: on Tuesday, you’ll get to hear directly from authors Eleazar and Rebekah Ruiz, who were kind enough to let me interview them for this blog! I think you’re going to love what they have to say about children’s books, beauty, and their new publishing company, Patrol Books. (We’ll also be giving away a copy of the book!)

But if you can’t wait until then and want to know more about the book right now—why they wrote it, how it was made—here are a few behind-the-scenes videos about the making of Golly’s Folly to tide you over:

At the start of the year, I knew nothing of the series “Tales that Tell the Truth.” I had never seen Catalina Echeverri’s artwork, nor heard of Alison Mitchell or Carl Laferton.

But that changed when I read The Garden, the Curtain and the Cross. Not long after reading that book, I found The Storm that Stopped, and felt a sudden conviction that our family must own these books. All of them. Immediately. These books are beautifully told, truthful, well made, and worth reading dozens of times. We needed them.

The One O’Clock Miracle was the next to join our collection:

The One O’Clock Miracle tells of the young boy Jesus healed, through the perspective of his father, who walked miles and miles to meet Jesus, only to hear the words, “Go. Your Son will live.”

But Alison Mitchell isn’t content to simply retell the biblical story. Instead, she uses the story as a lens through with readers can view Jesus: the sub-title, “A True Story About Trusting the Words of Jesus“ is the perfect summary of her purpose here. The story is fun to read, but by the end the end of the book, it shows us something new about trusting Jesus, something we hadn’t seen before.

Catalina Echeverri’s illustrations are, again, full of energy and charm. And I’m pleased to report that, though our collection is growing, there are still more “Tales That Tell the Truth” out there for our family to collect.

Dear reader, this book brings me such joy. I can’t pinpoint the moment when I fell for it—was it the illustration of the disciples pulling their boat out into the sea?

Their expressions during the storm?

Or was it only at the end, when Mitchell brought the story to its beautiful conclusion, that I knew I’d fallen whole-heartedly in love with The Storm That Stopped?

I can’t say. But the book became one of my favorites to read aloud almost immediately.

What Scripture presents as a fairly simple narrative, Alison Mitchell shares with the energy of a good bedtime story. She tells not only what happened but why it was important: When Jesus calmed the storm with just a few words, what did it mean? What did that tell the disciples about who Jesus is? After reading the book, my husband said, “It’s a little like a sermon,” meaning that Mitchell doesn’t stop at telling the story, but goes one step further and tells us what the story is about.

Catalina Echeverri’s illustrations add yet another layer to the story and, if I’m perfectly honest, are what really got to me. You’ve seen her work already in The Garden, the Curtain and the Cross, but she is at her best when illustrating the disciples: she shows how genuinely frightening it must have been to face the storm, but she does it in a way that is funny and endearing. My daughters and I giggled quite a bit over the disciples’ response to the storm, but a few short pages later, I found myself tearing up again—this time not from laughter but from wonder.

Mitchell and Echeverri make a marvelous team and I am glad, because this isn’t their only book together. I’m already itching to read the others!

There are some trends I can’t get behind, like jeggings and cookie dough dip. But I do see a trend emerging that I can fully endorse: for a while, we’ve had some stellar story bibles that treat Scripture as one big story (The Jesus Storybook Bible; The Big Picture Story Bible), but lately, I’ve noticed more and more picture books that try to capture some aspect of Scripture’s big story. Some tackle the entire arc of Scripture (The Biggest Story); others focus on a few crucial books of the Bible (Miracle Man).

These have, so far, been beautifully illustrated. And so far, they’ve all been awesome.

The Garden, the Curtain and the Cross is another stunning example of a book that distills the big story of Scripture down into a potent dozen or so pages, so kids can read through the main arc of Scripture’s story in one sitting. Carl Laferton uses the curtain that separated the Israelites from the Holy of Holies, the part of the temple where God lived, to illustrate the effect that the Fall had on our relationship with God. Throughout the book, a simple refrain crops up:

Because of your sin, you can’t come in

Aided by Catalina Echeverri’s colorful illustrations, Laferton explains how that separation happened (the garden), what it was like while it lasted (the curtain), and how it ended (the Cross).

On my first read-through, though, I must confess that I thought the story has been simplified a little too much. But when I reached the end and saw what Laferton had been building toward, I realized that, no, that simplicity was just right. And when I read it aloud to my daughters, the story came alive.

Because of your sin, you can’t come in

Like an unresolved chord, that refrain hangs unfinished throughout the story, until the last note—the note of Christ’s suffering on our behalf—joins in:

Because of your sin, you can’t come in,
but I died on the cross to take your sin . . .
So all my friends can now come in!

The story resolves beautifully. Our story resolves beautifully. And we simply cannot hear that good news enough.

I imagine reviewers for large publications opening white-covered galley copies of newly released books, their minds empty of expectation. I imagine—wrongly, I hope—that they read with a sort of professionalism, exploring major themes and images with an air of detachment, and I laugh. Because I enjoy being a highly-biased reviewer: I get to dive whole-heartedly into a book by a beloved author, announcing to myself as I do so, “I want to love this book.”

If I know nothing about the author, then it’s usually the illustrations that provoke this longing in me: a beautifully illustrated book makes me desperately want the story to do them justice.

Such was the case with Miracle Man.

I wanted so badly to love John Hendrix’s book—the cover alone was persuasive—and oh, dear reader, I do. I love it. I love Miracle Man so much that I bumped it up eight spots on my publishing schedule just so I could share it with you immediately.

Miracle Man follows the life of Jesus through his miracles, showing an interpretation of who he was as an incarnated man that fits well with Scripture but creatively reveals aspects of how his nature as the Son of God may have overflowed the bounds of humanity. Hendrix renders Jesus’ words as part of the illustrations, not part of the text, so everything Jesus says arrests your eyes and causes you dwell on every letter of every word. He made the deliberate choice to portray Jesus himself and infuses the illustrations with details that (I’m not ashamed to admit it) made me cry because they are so awe-inspiring.

My favorite example:

Jesus’ footsteps are filled with live, growing things, as though the sole of his foot is so infused with life that its imprint causes the earth to burst into flower out of season.

Yes, I wanted to love this book. I wanted to so badly that I would have overlooked some slightly lackluster prose for the sake of those stunning illustrations, but I didn’t have to. There was nothing lackluster to overlook.

And now, I want desperately to love every other book Hendrix has written.

First of all, congratulations to Carolyn of House Full of Bookworms! She is the official, randomly chosen winner of the Slugs & Bugs giveaway. She is also a fellow children’s book blogger, so in a way, I suppose that you all win a little something, too, because now you know about her blog (if you didn’t already). I think you’re going to like it.

Thank you so much to all of you who entered! That giveaway was great fun, and I really enjoyed hearing from so many of you in the comments—so much so that I find myself wondering, “What else can I give you all?” I just may have to do something like that again in the future.

And now, down to business: this is the last post before I take a little break to celebrate our baby.

This post originally appeared on this blog on March 20, 2015.

Christmas books are easy to come by. We have many, and there are many more waiting on my “To Read” list, and that is good. But Easter books are scarce—really good Easter books, I mean, the kind that have less to do with eggs and bunnies and the beauty of nature than they do with the glory of God and the death and resurrection of his Son. We have some, but not many. And I was hard pressed to find new ones this year.

Perhaps, I mused in the comments at Aslan’s Library, that is because there is no baby in the Easter story and so few farm animals (just that donkey that crops up again and again). Later on, it struck me: there is no baby in the Easter story and there are few farm animals. But what is in the story is not the usual fodder for children’s books: Execution. Betrayal. Suicide. Torture, death, abandonment. Grief.

How does an author or illustrator of books for children handle those subjects with delicacy and honesty? No wonder so many authors prefer to come at the story through peripheral characters; no wonder authors tell this story from a slight distance.

I touched lightly on this in an earlier post when I mentioned my surprise at finding that we had only one book that told the story head on, without some sort of literary filter. After that, a wise commenter directed me toward Jan Pieńkowski’s book, Easter, which I found later that week at our library and lo! It was beautiful. (We have since purchased our own copy.)

The text is that of the King James Bible, so it is rich and elegant and somehow just right. Pieńkowski’s silhouetted illustrations are unique and powerful, yet so simple, that they suit the intensity of the story of Christ’s Crucifixion and Resurrection, allowing him to depict details that would be too disturbing if shown head on without losing any of their gravity. (How he pulls so much expression out of black paper, I don’t know, but he does and he does it well.)

Easter is a moving book—one that is hard to read without sniffling at least a little. It is a book that doesn’t look away from the horror of the Crucifixion of Christ, but one that opens and closes with these radiant endpapers meant to remind us that Christ’s death was neither the beginning nor the end of the story, for after it came the Resurrection. After that, everything changed.